Music from Baz Luhrmann’s Film Moulin Rouge!
Track Listing
* Review * Lyrics * Credits
Track
Listing
01. Nature Boy
-David Bowie
02. Lady
Marmalade
-Christina Aguilera, Lil’ Kim, Mya and Pink
03. Because
We Can
-Fatboy Slim
04. Sparkling Diamonds
-Nicole Kidman, Jim Broadbent, Caroline
O’Connor, Natalie Mendoza and Lara Mulcahy
05. Rhythm of
the Night
-Valeria
06. Your Song
-Ewan McGregor and Alessandro Safina
07. Children
of the Revolution
-Bono, Gavin Friday
and Maurice Seezer
08. One Day
I’ll Fly Away
-Nicole Kidman
09. Diamond
Dogs
-Beck
10. Elephant
Love Medley
-Ewan
McGregor, Nicole Kidman and Jamie Allen
11. Come What
May
-Ewan McGregor and Nicole Kidman
12. El Tango
de Roxanne
-Ewan McGregor, Jose Feliciano and Jacek Koman
13. Complainte de la Butte
-Rufus Wainwright
14. Hindi Sad
Diamonds
-Nicole Kidman, John Leguizamo and Alka
Yagnik
15. Nature
Boy
-David
Bowie and Massive Attack
1.
Like many of the songs in Moulin
Rouge, “Nature Boy” is one that I could not remember specifically as having
heard, yet the lyrics and tune were still familiar to me, through some sort of
cultural osmosis. Having now heard it, I really like it. This version is so
haunting and beautiful, although not the version heard in the film (I guess
John Leguizamo doesn’t have the same marketability as
a singer as David Bowie!) Like all the songs used in Moulin Rouge, it seems tailor-made especially for the film, and
fits perfectly as a theme for Christian’s character.
2.
Another ‘cultural osmosis’ song. Wonderful idea to have all the
prostitutes in the film singing ‘voulez-vous coucher avec moi ce soir’. The song works well in
the film, and is quite catchy to listen to…at first. I think the day I got fed
up with it was when I was shopping, and every store I went into was playing it.
I left one store as it was just starting, walked down the street, went into
another store, and hadn’t been there two minutes before it started again. Also,
having since heard the original, I actually prefer it. So, good song for the
film, but suffers from over-exposure. (and really bad music video)
3.
Ah, the can-can for the new millennium. For all the hype this song
got, it wasn’t really in the film, was it? As concepts go, revamping the
can-can as its 2000 equivalent so the audience understands what it sounded like
to patrons of the Moulin Rouge a hundred years ago is a good one. The song’s
not bad, but I’m not a huge fan of it, and segueing from it into “Diamonds Are a Girl’s
Best Friend” is a little odd, even more obvious here then in the film.
4.
Finally, we get to the actual songs from the Musical Film, the
ones that advance the narrative rather than just being background sounds. I was
thrilled (and quite amazed, I have to admit) to find out how well Nicole Kidman
and Ewan McGregor can sing. Nicole does a wonderful job on this song, although
this is a slicker, more modern-sounding version than the jazzier one in the
film. I still like it, although I’m not sure about the ‘let’s-make-love’,
growling-and-yipping interlude; also, where’s the rest of the first verse (after
‘the French are glad…), and the show-stopping grand-finale?
5.
Now, I can’t tell you how many versions of this song I’ve heard,
and this one doesn’t especially stick out. Like in “Lady Marmalade”, they’ve
added references to the Moulin Rouge (good call), and it works well in the
film. Not a real stand-out here, but I like the couple bits of dialogue they
added at the beginning.
6.
One of my favourites. Ewan McGregor completely blew me away with
his voice in the film, and I love his version of “Your Song”. Now I understand
why Nicole Kidman said she fell in love with him every time he sang to her!
It’s nice that they left this relatively untouched for the soundtrack, without
slicking it up, like many of the other songs. One complaint: I would have liked
to have the
first verse included, which he stumbles over speaking in the film. Another
cultural-osmosis moment there, where the words he was speaking sounded
familiar, but I couldn’t quite place them. The spoken first verse makes the
sudden break-out-into-song moment all the more impressive.
7.
Another take-it-or-leave it song. The placement in the soundtrack
is kind of odd; coming after “Your Song”, it’s rather jarring; I would have put
it after a more similar song. Strangely, in the film, this is the one song that
sounded odd to me: to see the Bohemians, in 1899, having a party while this
played seemed out of place even in the crazy, heightened, pop-culture-collage
world of Moulin Rouge.
8.
This song, I had never heard before, and I first thought that they
must have written it as an original song for the film, it works so well. It’s
not a big showpiece song like many of the others, but I like it, and I think
Nicole Kidman sings it beautifully. It’s also been transferred quite faithfully
from the film, but where’s Ewan McGregor’s brief “Your Song” interlude?
9.
Of the background songs of this type included here, I think this
is my favourite. I like Beck’s version of it, and I think it fits in better
here than some of the other songs. However, I did prefer the other version used
in the film briefly, that was a little more, I don’t
know, big-band sounding, I guess. Why isn’t that version here instead?
10.
I love this song! Who’d have thought that all these different
sappy love songs could be combined into a cohesive, musical-comedy argument? A
brilliant idea, and brilliantly structured, as Satine is gradually won over by
Christian. Strangely, I feel this is one of the most musical-theatre type songs
in the film: an argument, sung. And all the songs have been remixed just enough
that they fit together perfectly into a whole.
11.
The one original song in the entire film, it had big shoes to
fill, standing next to all these famous songs. And, I think it fills them. It’s
a beautiful song, and is perfect as the lover’s secret song that brings them
together, overcoming all obstacles. (although, no mountain being high enough to
keep two lovers apart is quite a familiar theme in songs) Again, they’ve jazzed
it up for the soundtrack, but I think this version is just as good as the one
in the film. (but it would’ve been nice to have that
version too!)
12.
Another wonderful song, and one of the
most brilliant sequences in the film, I think. Given what the Argentinean says
about the tango in the film, “Roxanne” was a perfect choice for this song (and,
apparently Sting wrote it after seeing a prostitute on the streets of Paris and
wondering what it would be like to fall in love with her), mixed in with Ewan
McGregor’s lines. You never would have guessed that “Roxanne” could have been
turned into such a dark, tense, powerful song, but here it is.
13.
The French-and-English mix of this song, with its haunting melody,
makes it a good fit here, even if it is only heard for about two seconds in the
film. I quite like it, and the lyrics, from what I can understand of the
French, make it another perfect find to fit in the film.
14.
A lovely dark version of “Diamonds Are a Girl’s Best Friend”,
mixed in with an Indian song that I’m sure has lyrics relevant to the film, if
only I could understand them. It’s a nice flip side to the first version of
“Diamonds”, that cheerfully brushed aside romance for
material goods. Now, the lyrics have a dark irony to them, and the tune no
longer bounces along but echoes sombrely.
15.
While I like “Nature Boy”, I’m not a big fan of this version. The
jumpy music and flatly sung lyrics cheat the song out of the haunting
melancholy that infused the first version on this soundtrack. As a bit of a
side note, while Ewan McGregor gets the first word on this album, Nicole Kidman
gets the last: after the song ends, you can hear her whispering ‘I love you’,
very quietly.
CONCLUDING THOUGHTS: While I like it, I was somewhat disappointed
in this CD, since I thought it was something of a slick reflection of the
film’s marketing campaign, and lacked a lot of the heart of the film. Lots of
songs that were actually sung by the characters in the film are missing, most
notably “Like a Virgin”, “The Show Must Go On”, and “Spectacular Spectacular”, one can only assume because they lack the
commercial appeal of the increasingly grating “Lady Marmalade”. Aside from that
disappointment, still a really good CD.
Another odd thing
about this CD is the rather bizarre mixture of songs: Fatboy
Slim and Beck next to “Your Song”, a tango, a song partly in Hindi, and a song
in English and French? It’s like there was a mix-up at the studio when they
sent the tracks off to be manufactured into the CD. And while this might be
seen as a reflection of the post-modern aesthetic of the film in general, it’s
missing something, that gave the film its magic and
made it into a cohesive whole; it’s missing the heart, the abandon of bursting
into love songs atop a giant elephant, the paradox of self-conscious, carefully
planned unselfconscious spontaneity. (if that makes
any sense whatsoever) My suggestion for this CD, and for marketing the film in
general: give up trying to make it into something that tries to appeal to the broadest amount
of people in the most desirable demographic, and try to sell it for what it
really is: a musical that’s hilariously funny and heart-breakingly
sad, and hopelessly, unapologetically, romantic.
Nature Boy * Lady
Marmalade * Because We Can
* Sparkling Diamonds * Rhythm of the Night * Your Song
Children of the Revolution * One Day I’ll Fly Away * Diamond Dogs
* Elephant Love Medley * Come What May
El
Tango de Roxanne * Complainte de la Butte * Hindi Sad
Diamonds * Nature Boy
(CHRISTIAN:
This story is about love. The woman I loved is…dead.)
There was a boy,
A very strange enchanted boy.
They say he wandered very far,
Very far,
Over land and sea.
A little shy,
And sad of eye,
But very wise was he.
And then one day,
One magic day,
He passed my way.
And while we spoke of many
things,
Fools and kings,
This he said to me:
The greatest thing you’ll ever
learn,
Is just to love, and be loved
in return.
Where’s all my soul sistas?
Lemme hear ya flow, sistas.
Hey sista,
go sista, soul sista, flow sista.
Hey sista,
go sista, soul sista, flow sista.
He met Marmalade down in old
Moulin Rouge,
Strutting her stuff on the street.
She said, ‘hello, hey Joe,
Ya wanna give it a go?’
Giuchie giuchie ya ya da da
Giuchie giuchie ya ya here.
Mocha chocalata
ya-ya,
Creole Lady Marmalade.
Voulez-vous coucher avec moi
ce soir?
Voulez-vous coucher avec moi?
He sat in her boudoir
While she freshened up.
Boy drank all that magnolia
wine.
On her black satin sheets
Is where he’s gonna be free.
Giuchie giuchie ya ya da da
Giuchie giuchie ya ya here.
Mocha choca-la-ta
ya-ya,
Creole Lady Marmalade.
Voulez-vous coucher avec moi
ce soir?
Voulez-vous coucher avec moi?
He comes through with the
money in the garter belts,
Let ‘em
know we ‘bout that cake, straight out the gate
We independent women, some
mistake us for whores,
I’m saying ‘why spend mine
when I can spend yours?’
Disagree, well, that’s you and
I’m sorry,
I’m gonna
keep playing these cats out like Atari,
Wear high heeled shoes,
getting love from the Jews.
Four badass chicks from the
Moulin Rouge.
Hey sistas,
soul sistas,
Betta get that dough sistas.
We drink wine with diamonds in
the glass,
By the case, the meaning of
expensive taste.
We wanna
giuchie guichie ya-ya,
Mocha chocolata,
Creole Lady Marmalade.
One more time, come on.
Marmalade,
Lady Marmalade,
Marmalade.
Hey, hey, hey.
Touch of her skin feeling
silky smooth,
Colour of café au lait, all right.
Made the savage beast inside
Roar until he cried,
More, more, more.
Now he’s back home doing nine
to five,
Living a grey flannel life.
But when he turns off to
sleep, memories creep.
More, more, more.
Giuchie giuchie ya ya da da
Giuchie giuchie ya ya here.
Mocha chocalata
ya-ya,
Creole Lady Marmalade.
Voulez-vous coucher avec moi
ce soir?
Voulez-vous coucher avec moi?
All my sistas,
yeah.
Voulez-vous coucher avec moi
ce soir?
Voulez-vous coucher avec moi?
Christina.
Pink.
Lil’ Kim.
Hey, hey.
Oh, oh, oh, oh, oh, oh, oh.
Mya.
Oh, oh.
Rockwilder baby.
Hey, hey, oh yeah.
Moulin Rouge.
Moulin.
Misdemeanour here.
Creole Lady Marmalade, oh yes.
Because we can can-can!
Because we can can-can can-can can-can!
Everybody can-can!
Everybody can-can!
Yes, we can can-can!
Yes, we can can-can!
Yes, we can can-can!
Because we can can-can!
Yes, we can can-can!
If you can can-can can-can can-can can-can…
Everybody can-can!
Can-can! Can-can! Can-can!
Can-can! Can-can!
(Can-can, can-can, can-can…)
Everybody can-can!
Can can-can!
If you can can-can!
If you can can-can!
Well, if you can can-can!
If you can can-can!
If you can can-can!
[Et
cetera, et cetera]
[SATINE]
The French are glad to die for love.
A kiss on the hand may be quite
continental,
But diamonds are
a…
[SATINE and CHORUS] …girl’s
best friend.
[SATINE]
A kiss may be grand,
But it won’t pay
the rental on your humble flat
Or help you feed
your (mmm) pussycat.
[SATINE
and CHORUS] Men grow cold as girls grow
old,
[SATINE]
And we all lose our charms in the end.
[SATINE
and CHORUS] But square cut or
pear-shape,
These rocks don’t lose their shape,
Diamonds are a girl’s best friend.
[SATINE]
Tiffany’s! Cartier!
[SATINE
and CHORUS] ‘Cause we are living in a
material world,
And I am a material girl.
[SATINE]
(*kiss* ahh) Come and get me boys!
Black star, Roscor!
Talk to me Harry
Zidler, tell me all about it!
There may come a
time when a lass needs a lawyer…
[ZIDLER
and CHORUS] But diamonds are a girl’s
best friend. Oh! Oh!
[SATINE]
There may come a time when a hard-boiled
employer
Thinks you’re…
[ZIDLER]
Awful nice!
[SATINE]
But get that ice or else no dice!
[CHORUS]
He’s your guy when stocks are high,
But beware when
they start to descend.
Diamonds are a
girl’s best,
Diamonds are a
girl’s best,
Diamonds are a
girl’s best friend.
[SATINE]
Let’s make love. Yes! Oh, oh, tiger!
[CHORUS]
Ole!
[ZIDLER]
Everything’s going so well!
[SATINE]
‘Cause that’s when those louses
Go back to their…
[SATINE
and CHORUS] …spouses,
Diamonds are a girl’s best…
[SATINE] …friend.
(Rhythm, yeah. Rhythm, yeah, Rhythm, yeah.)
(SATINE:
I believe you were expecting me.)
(Rhythm, yeah. Rhythm, yeah. Rhythm,
yeah.)
And it’s called the Moulin
Rouge.
(SATINE:
Let’s dance.)
Feel the beat of the rhythm of
the night
(Feel the rhythm)
Forget about the worries on
your mind
(On your mind)
Feel the beat of the rhythm of
the night
(Feel the rhythm)
Forget about the worries on
your mind.
When it feels like
The world is on your
shoulders,
And all of the madness
Has got you going crazy,
It’s time to get out,
Step onto the street,
Where all the action
Is right there at your feet.
Well, I know a place where
We can dance the whole night
away,
And it’s called the Moulin
Rouge!
Just come with me
And we can shake your blues
right away,
You’ll be doing fine
Once the music starts. Oh, yeah!
Feel the beat of the rhythm of
the night,
Dance until the morning light.
Forget about the worries on
your mind,
We can leave them all behind.
Feel the beat of the rhythm of
the night,
Oh, the rhythm of the night.
Forget about the worries on
your mind,
We can leave them all behind.
Look out on the street now,
The party’s just beginning,
The music’s playing,
The celebration’s starting.
Under the street lights,
The scene is being set,
A night for romance,
A night you won’t forget.
So come join the fun,
This ain’t
no time to be stayin’ home,
Moulin Rouge is goin’ on!
Tonight is going to be a night
Like you’ve never known,
We’re going to have a good
time
The whole night long. Oh, yeah!
Feel the beat of the rhythm of
the night,
Dance until the morning light.
Forget about the worries on
your mind,
We can leave them all behind.
Feel the beat of the rhythm of
the night,
Oh, the rhythm of the night.
Forget about the worries on
your mind,
We can leave them all behind.
[Repeats in Spanish.]
And it’s called the Moulin
Rouge!
Feel the beat of the rhythm of
the night
(Feel the rhythm)
Forget about the worries on
your mind
(On your mind)
Feel the beat of the rhythm of
the night
(Feel the rhythm)
Forget about the worries on
your mind,
We can leave them all behind.
Feel the beat of the rhythm of
the night,
Forget about the worries on
your mind,
Feel the beat of the rhythm of
the night,
(Of the night)
Forget about the worries on
your mind,
We can leave them all behind.
Feel the beat of the rhythm of
the night,
Forget about the worries on
your mind,
We can leave them all behind.
Feel the beat of the rhythm of
the night,
Forget about the worries on
your mind.
Feel the beat of the rhythm of
the night,
Forget about the worries on
your mind.
Oh, I wanna
feel the rhythm.
My gift is my song,
And this one’s for you.
And you can tell everybody that this is your song.
It may be quite simple, but now that it’s done,
I hope you don’t mind, I hope you don’t mind,
That I put down in words,
How wonderful life is, now you’re in the world.
Sat on the roof and I kicked off the moss,
Well some of these verses, well, they, they got me quite cross.
But the sun’s been kind while I wrote this song;
It’s for people like you that keep it turned on.
So excuse me forgetting, but these things I do,
You see I’ve forgotten if they’re green or if they’re blue.
Anyway, the thing is, what I really mean,
Yours are the sweetest eyes I’ve ever seen.
And you can tell everybody that this is your song.
It may be quite simple, but now that it’s done,
I hope you don’t mind, I hope you don’t mind,
That I put down in words,
How wonderful life is, now you’re in the world.
Well, you can bump and grind
Cause it’s good for your mind.
Well, you can twist and shout,
Let it all hang out.
But you won’t fool the children of the revolution,
No, you won’t fool the children of the revolution.
No, no.
Well, you can tell I’m playin’
In a foreign way.
I drive a Rolls-Royce
‘Cause it’s good for my voice.
But you won’t fool the children of the revolution,
No, you won’t fool the children of the revolution.
No, no.
La-di-dah, la di-dah di
dah-dah-dah.
La-di-dah, la di-dah di
dah-di dah-dah.
La-di-dah, la di-dah di
dah-dah-dah.
La-di-dah, la-di-dah.
You won’t fool the children of the revolution,
No, you won’t fool the children of the revolution,
No, you won’t fool the children of the revolution,
No, you won’t fool,
No, no, baby, you won’t fool the children,
No, no, you can try to fool them every time,
You won’t make it, oh la-di-dah
La-di-dah, la di-dah di
dah-dah-dah.
La-di-dah, la di-dah di
dah-di dah-dah.
I follow the night,
Can’t stand the light.
When will I begin to live again?
One day I’ll fly away,
Leave all this to yesterday.
What more could your love do for me?
When will love be through with me?
Why live life from dream to dream,
And dread the day when dreaming ends?
One day I’ll fly away,
Leave all this to yesterday.
Why live life from dream to dream,
And dread the day when dreaming ends.
One day I’ll fly away, fly, fly, away.
As they pulled you out of the oxygen tent,
You asked for the latest party.
With your silicone hump,
And your ten-inch stump,
Dressed like a priest, you was,
Tod Browning’s freak, you was.
Crawlin’ down the alley on your hands and your knees,
I’m sure you’re not protected, for it’s
plain to see
The diamond dogs are vultures and they hide behind trees.
Hunt you to the ground they will, mannequins with kill appeal.
(Here they come.)
I’ll keep a friend serene.
(Here they come.)
Oh baby, come unto me.
(Here they come.)
Well, she’s come, been, and gone.
Come out of the garden, baby,
You’ll catch your death in the fog.
Young girls, they call them the diamond dogs.
In the year of the scavenger, the season of the bitch,
Sashay on the boardwalk, scurry to the ditch.
Just another future song, lonely little kitsch.
There’s gonna be sorrow, tryin’ to wake up for tomorrow.
Halloween Jack is a real cool cat,
He lives on top of
The elevator’s broke, so he slides down a rope
Onto the street below, oh, Tarzan, go man, go.
(Here they come.)
I’ll keep a friend serene.
(Here they come.)
Oh, baby, come unto me.
(Here they come.)
Well, she’s come, been, and gone.
Come out of the garden, baby,
You’ll catch your death in the fog.
Young girls, they call them the diamond dogs.
They call them the diamond dogs.
They call them the diamond dogs.
They call them the diamond dogs.
Girls, they call them the diamond dogs.
Girls, they call them the diamond dogs.
[CHRISTIAN] Love is a many-spendoured
thing, love lifts us up where we belong, all you need
is love!
[SATINE] Please, don’t start that again.
[CHRISTIAN] All
you need is love.
[SATINE] A girl has got to eat!
[CHRISTIAN] All
you need is love.
[SATINE] She’ll end up on the streets!
[CHRISTIAN] All
you need is love.
[SATINE] Love
is just a game.
[CHRISTIAN] I
was made for loving you baby,
You were made for
loving me.
[SATINE] The
only way of loving me baby,
Is to pay a lovely
fee.
[CHRISTIAN] Just
one night,
Give me just one
night.
[SATINE] There’s
no way,
‘Cause you can’t pay.
[CHRISTIAN] In
the name of love,
One night in the
name of love.
[SATINE] You
crazy fool, I won’t give in to you.
[CHRISTIAN] Don’t
leave me this way.
I can’t survive without your sweet love,
Oh baby, don’t leave me this way.
[SATINE] You’d
think that people would have had enough of silly love songs.
[CHRISTIAN] I
look around me and I see it isn’t so, oh no.
[SATINE] Some
people want to fill the world with silly love songs.
[CHRISTIAN] And
what’s wrong with that,
I’d like to know
‘Cause here I go, again.
Love lifts us up where we belong,
Where eagles fly on a mountain high.
[SATINE] Love
makes us act like we are fools,
Throw our lives away
for one happy day.
[CHRISTIAN] We
could be heroes, just for one day!
[SATINE] You,
you will be mean.
[CHRISTIAN] No, I won’t.
[SATINE] And
I, I’ll drink all the time.
[CHRISTIAN] We
should be lovers.
[SATINE] We
can’t do that.
[CHRISTIAN] We
should be lovers, and that’s a fact.
[SATINE] Though
nothing will keep us together,
[CHRISTIAN] We
could steal time,
[SATINE and CHRISTIAN] Just for one day.
We could be heroes, forever and ever,
We
could be heroes forever and ever...
[CHRISTIAN] And
I will always love you.
[SATINE] I
can’t help loving you...
How wonderful life
is...
[SATINE and CHRISTIAN] Now you’re in the world.
[CHRISTIAN] Never
knew I could feel like this,
It’s like I’ve never seen the sky
before.
Want to vanish inside your kiss,
Every day I’m loving you more and more.
Listen to my heart, can you hear it sing,
Telling me to give you everything.
Seasons may change, winter to spring,
But I love you until the end of time.
Come what may, come what may,
I will love you until my dying day.
[SATINE] Suddenly
the world seems such a perfect place,
Suddenly it moves with such a perfect
grace.
[CHRISTIAN and SATINE] Suddenly my life doesn’t seem such a waste,
[SATINE] It
all revolves around you.
[CHRISTIAN and SATINE] And there’s no mountain too high, no river too wide,
Sing out this song and I’ll be there by
your side.
Storm clouds may gather, and stars may
collide,
[CHRISTIAN] But
I love you. . .
[SATINE] I
love you. . .
[CHRISTIAN] .
. .until the end. . .
[SATINE].
. .until the end. . .
[CHRISTIAN and SATINE] . . .of time.
Come what may, come what may,
I will love you until my dying day.
Oh, come what may, come what may,
I will love you…
[SATINE] …I
will love you.
Suddenly the world seems such a perfect
place.
[CHRISTIAN and SATINE] Come what may, come what may,
I will love you until my dying day.
[ARGENTINEAN] …will drive you, will drive you, will drive you mad!
Roxanne!
You
don’t have to put on that red light,
Walk the
streets for money.
You don’t
care if it’s wrong or if it is right.
Roxanne!
You don’t have to wear that
dress tonight.
Roxanne!
You don’t have to sell your
body to the night.
[CHRISTIAN] His
eyes upon your face.
His hand upon your hand.
His lips caress your skin.
It’s more than I
can stand!
[ARGENTINEAN] Roxanne!
[CHRISTIAN] Why
does my heart cry. . .
[ARGENTINEAN] Roxanne!
[CHRISTIAN] .
. .feelings I can’t fight.
You’re free to leave me,
Just don’t
deceive me,
And please believe me
When I say I love
you.
[Spanish-speaking interlude]
[ARGENTINEAN] Roxanne!
[CHRISTIAN] Why
does my heart cry. . .
[ARGENTINEAN] You don’t have to put on that red light.
[CHRISTIAN] .
. .feelings I can’t fight…
[ARGENTINEAN] You don’t have to wear that dress tonight.
Roxanne!
You don’t have to put on that red light.
Roxanne!
You
don’t have to wear that dress tonight.
Roxanne!
Roxanne!
Roxanne!
La lune trop blęme
Pose un diadčme
Sur tes cheveux
roux
La lune trop rousse
De gloire éclabousse
Ton jupon plein de trous
La lune trop pâle
Caresse l'opale
De tes yeux blasés
Princesse de la rue
Soit la bienvenue
Dans mon coeur brissé
The stairways up to la butte
Can make the wretched sigh
While windmill wings of the Moulin
Shelter you and I
Petite mandigotte
Je sens ta
menotte
Qui cherche ma main
Je sens ta
poitrine
Et ta taille fine
J'oublie mon chagrin
Je sens sur
tes lčvres
Une odeur de fičvre
De gosse mal nourrie
Et sous ta caresse
Je sens une
ivresse
Qui m'anéantit
The stairways up to the butte
Can make the wretched sigh
While windmill wings of the Moulin
Shelter you and I
Mais voilŕ quel toutte
La lune qu'il flotte
La princesse aussi
La la la la la
La la la la la
Mon ręve évanoui
Les escaliers de la butte
Sont durs aux miséreux
Les ailes des moulins
Protčgent les amoureux
[ZIDLER-AS-EVIL-MAHARAJAH] She is mine!
[TOULOUSE-AS-MAGICAL-SITAR] I only speak the truth,
I only
speak the truth,
I only speak the truth,
I only speak the truth,
I only speak the truth,
I only
speak the truth,
I only speak the truth,
I only speak the truth!
[CHORUS] Chamma chamma, he chamma chamma.
Chamma
chamma, baajere meri bendariya.
Re chamma chamma, bajeremeri bendariya. . .
Tere paas aawoun teri,
saanson mein samavoun raja.
Chamma
chamma, he chamma.
Chamma
chamma baajere teri bendariya.
Chamma
chamma baajere teri bendariya.
Tere paas
aawoun teri, saansons mein samavoun
raja.
Tere
paas aawoun teri, saanson mein
samavoun. . .
[SATINE-AS-HINDU-COURTESAN] Kiss, hand, diamond’s best friend.
Kiss grand, diamond’s best friend.
Men cold,
girls old.
And we all lose our charms in the end.
[SATINE-AS-HINDU-COURTESAN and CHORUS] Diamonds are a,
Diamonds
are a,
Diamonds
are a,
Diamonds
are a...
Diamonds are a,
Diamonds are a,
Diamonds are a...
[SATINE-AS-HINDU-COURTESAN] ...girl’s best friend.
[ZIDLER-AS-EVIL-MAHARAJAH] She is mine.
[DUKE] She is mine.
There was a boy,
A very strange enchanted boy.
They say he wandered very far,
Very far,
Over land and sea.
A little shy,
And sad of eye,
But very wise was he.
And then one day,
One magic day,
He passed my way.
And while we spoke of many
things,
Fools and kings,
This he said to me:
The greatest thing you’ll ever
learn
Is just to love, and be loved
in return.
(SATINE: I love you.)
01.
NATURE BOY
Performed
by David Bowie
Produced
by BLAM, Josh G. Abrahams and Craig Armstrong
Engineered
by Geoff Foster
Mixed
by Andy Bradfield
Vocals
recorded by Tony Visconti
Written
by
Published
by Edwin H. Morris and Company, a division of MPL Communications, Inc./David J. Janowiak d/b/a Golden
Word (ASCAP)
02.
LADY MARMALADE
Performed
by Christina Aguilera, Lil’ Kim, Mya and Pink
Produced
by Missy Elliot for Mass Confusion Productions, Inc. and Rockwilder
for F-5 Productions, Inc.
Vocals
produced by Ron Fair
Recorded
by Brian Springer, Michael C. Ross and Dylan “3D” Dresdow
Mixed
by Dave “Hard Drive” Pensado
Written
by Bob Crewe and Kenny Nolan
Published
by EMI April Music Inc. o/b/o Stone Diamond Music Corp./Tannyboy
Music Co.(BMI)
Christina
Aguilera performs courtesy of the RCA Music Group
Lil’ Kim performs courtesy of
Queen bee Entertainment, Inc./Undeas/Atlantic
Recording Corporation
Mya performs courtesy of A&M Records
Pink
perfroms courtesy of LaFace
Records
03.
BECAUSE WE CAN
Performed
by Fatboy Slim
Produced
by Fatboy Slim
Engineered
by Simon Thornton
Written
by Norman Cook
Published
by T C F Music Publishing, Inc. (ASCAP)/Universal Music Publishing Ltd. (PRS)
Fatboy Slim
performs courtesy of Astralwerks/Skint Records
Contains
portions of “Zidler’s Rap”
Performed
by Jim Broadbent
Vocals
produced by Marius DeVries
Courtesy
of Twentieth Century Fox Film Corporation
04.
SPARKLING DIAMONDS
Performed
by Nicole Kidman, Jim Broadbent, Caroline O’Connor, Natalie Mendoza and Lara Mulcahy
Produced
by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
Engineered
by Geoff Foster
Mixed
by Brad Haehnel
Arranged
by Steve Sidwell
Additional
Vocal Production and Engineering by Simon Franglen
Diamonds
Are A Girl’s Best Friend, written by Jule Styne
& Leo Robin, published by Music Sales Corporation (ASCAP)
Material
Girl, written by Peter H. Brown
and Robert S. Rans, published by Candy Castle
Music
administered by Warner-Tamerlane Publishing Corp.
(BMI)
Natalie
Mendoza performs courtesy of EMI Music Australia PTY (Limited)
05.
RHYTHM OF THE NIGHT
Performed
by Valeria
Produced
by BLAM, Josh G. Abrahams, Marius DeVries and Alexis Smith
Engineered
by Geoff Foster
Mixed
by Ryan Freeland
Horn
Arrangements by Steve Sidwell
Additional
Vocal Production and Engineering by Simon Franglen
Written
by Diane Warren
Published by Edition Sunset Publishing, Inc. (ASCAP). All rights on behalf of Edition Sunset Publishing, Inc.
administered by BMG Songs Inc. (ASCAP)
Valeria
performs courtesy of Farmclub.com/Interscope Records
06.
YOUR SONG
Performed
by Ewan McGregor and Alessandro Safina
Produced
by BLAM, Josh G. Abrahams, Craig Armstrong, Marius DeVries and Patrick Leonard
Engineered
by Geoff Foster
Mixed
by Andy Bradfield
Arranged
by Craig Armstrong
Additional
Vocal Production and Engineering by Simon Franglen
Written
by Elton John and Bernie Taupin
Published
by Dick James Music Limited administered by Universal-Songs of Polygram International, Inc. (BMI)
Alessandro
Safina performs courtesy of Music For A Better World,
Ltd.
07.
CHILDREN OF THE REVOLUTION
Performed
by Bono, Gavin Friday and Maurice Seezer
Vocals
by Bono and Gavin Friday
Produced
by Richard “Biff” Stannard, Julian Gallagher, Bono,
Gavin Friday and Maurice Seezer
Engineered
by Maurice Seezer with Ash Howes
and Alvin Sweeney
Arranged
by Bono, Gavin Friday and Maurice Seezer
Programmed
by Ash Howes and Maurice Seezer
Guitars
by Bono, Maurice Seezer and
Richard “Biff” Stannard
Keyboards
by Maurice Seezer, Richard “Biff” Stannard
and Julian Gallagher
Written
by Marc Bolan, published by Wizard (
Bono
performs courtesy of Universal-Island Records UK
08.
ONE DAY I’LL FLY AWAY
Performed
by Nicole Kidman
Produced
by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
Engineered
by Geoff Foster
Mixed
by Andy Bradfield
Arranged
by Craig Armstrong
Additional
Vocal Production and Engineering by Simon Franglen
Written
by Will Jennings and Joe Sample
Published
by Irving Music, Inc./Four Knights Music Co.
administered by Songs of Universal, Inc. (BMI)
09.
DIAMOND DOGS
Performed
by Beck
Produced by Timbaland for Timbaland Productions, Inc.
Engineered
by Jimmy Douglas and Mickey Petralia
Mixed
by Timbaland and Jimmy Douglas
Written
by David Bowie
Published by Colgems-EMI Music Inc.
(o/b/o EMI Pub. Ltd.)
(ASCAP)/Jones Music America (ASCAP) Administered by ARZO Publishing/RZO Music
Ltd./Moth Music/Chrysalis Music (ASCAP)
Beck
performs courtesy of Geffen Records
10.
ELEPHANT LOVE MEDLEY
Performed
by Nicole Kidman, Ewan McGregor and Jamie Allen (tenor)
Produced
by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
Engineered
by Geoff Foster
Mixed
by Andy Nelson and Brad Haehnel
Arranged
by Craig Armstrong
Additional
Vocal Production and Engineering by Simon Franglen
All
You Need Is Love, written by John Lennon and
Paul McCartney, published by Sony/ATV Tunes, LLC (ASCAP)
I
Was Made For Lovin’ You, written by Paul Stanley, Desmond Child and Vini
Poncia, published by Hori Prod. America, Inc.
(ASCAP), Desmobile Music (ASCAP), administered by
Universal-Polygram Int. Publ.,
Inc. (ASCAP)/Mad Vincent Music (BMI), administered by Universal-Songs of Polygram Int., Inc. (BMI)
One
More Night, written by Phil Collins,
published by EMI April Music Inc. o/b/o Phillip Collins LTD./
Hit&Run (Publishing Ltd.)(ASCAP)
Pride
(In The Name Of Love), music: U2/lyrics: Bono
& The Edge, published by Universal-Polygram
International Music Publishing, Inc. B.V. administered by Universal-Polygram International Music Publishing, Inc. (ASCAP)
Don’t
Leave Me This Way, written by Kenneth Gamble,
Leon Huff & Cary Gilbert, published by Warner-Tammerlane
Publishing Corp.(BMI)
Silly
Love Songs, written by McCartney,
published by MPL Communications, Inc. (ASCAP)
Up
Where We Belong, written by Jack Nitzsche, Buffy Sainte-Marie and
Will Jennings, published by Famous Music Corp. (ASCAP)/Ensign Music Corp. (BMI)
Heroes, written by David Bowie and Brian Eno,
published by Screen Gems-EMI Music Inc. (o/b/o EMI Music Pub. Ltd.)(BMI)/Tintoretto Music (BMI),
administered by RZO Music, Inc./RZO Music Ltd. (BMG
Music Publishing Ltd. (PRS)). All rights on behalf of BMG Music Publishing Ltd.
administered in the
I
Will Always Love You, written by Dolly Parton, published by Velvet Apple Music (BMI)
Your Song, written by Elton John and Bernie Taupin,
published by Dick James Music Limited, administered by Universal-Songs of Polygram International, Inc. (BMI)
11.
COME WHAT MAY
Performed
by Nicole Kidman and Ewan McGregor
Produced by David Foster for Chartmaker,
Inc.
Courtesy of Warner Music Group and Simon Franglen
for Native, Inc.
Orchestral
Production by Craig Armstrong
Additional
Vocals Produced by Marius DeVries
Engineered
by Geoff Foster, Simon Franglen, Felipe Elgueta and David Reitzas
Mixed
by Humberto Gatica
Written
by David Baerwald
Published
by Almo Music Corp./Pale
Rider, Inc./ T C F Music Publishing, Inc. (ASCAP)
12.
EL TANGO DE ROXANNE
Performed
by Ewan McGregor, Jose Feliciano and Jacek Koman
Produced
by BLAM, Josh G. Abrahams, Craig Armstrong and Marius DeVries
Engineered
by Geoff Foster
Mixed
by Andy Bradfield
Arranged
by Craig Armstrong
Additional
Vocal Production and Engineering by Simon Fraglen
Roxanne, written by Sting, published by EMI Blackwood Music, Inc./Magnetic Publishing Ltd. (BMI)
Le
Tango du Moulin Rouge, music by Marianito Mores, lyrics by
Baz Luhrmann and Craig Pierce, published by Rightsong
Music, Inc./Editorial Music Korn Intersong
(SADIAC). All rights in the
Jose
Feliciano performs courtesy of Universal Music Latino
13.
COMPLIANTE DE LA
Performed
by Rufus Wainwright
Produced
by Michel Pepin and Rufus Wainwright
Mixed
by Michel Pepin
Engineered
by Don Murnaghan and Michel Pepin
Music
by Georges Van Parys
Lyrics
by Jean Renoir
English
Lyric Translation by Bernadette Colomine
Published
by Les Nouvelles Editions Meridian/Southern Music
Publishing Co., Inc. (ASCAP)
Rufus
Wainwright performs courtesy of DreamWorks Records
14.
HINDI SAD DIAMONDS
Performed
by Nicole Kidman, John Leguizamo and Alka Yagnik
Produced
by BLAM, Marius DeVries and Steve Sharples
Engineered
by Geoff Foster
Mixed
by Andy Bradfield
Arranged
by Steve Sharples
Additional
Vocal Production and Engineering by Simon Franglen
Chamma
Chamma,
written by Sameer, published by Tips Music Industries
Ltd.
Diamonds
Are A Girl’s Best Friend, written by Jule Styne
& Leo Robin, published by Music Sales Corporation (ASCAP)
The
Hindi, written by Steve Sharples, published by Fox Film Music Corp. (BMI)
“Chamma Chamma” licensed courtesy
of Dashmesh International Ltd.
15.
NATURE BOY
Performed
by David Bowie and Massive Attack
Produced
by Robert “3D” Del Naja, Neil Davidge
and Craig Armstrong
Mixed
by Robert “3D” Del Naja and Neil Davidge
Mix
Engineered by Lee Shephard
Written
by
Published
by Edwin H. Morris & Company, a division of MPL Communications, Inc./David J. Janowiak d/b/a Golden
World (ASCAP)
Massive
Attack performs courtesy of Virgin Records America, Inc./Virgin
Records Limited
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
All tracks recorded and mixed at Air Studios, Angel
Studios, Biffco Studios, Capitol
Studios, Chartmaker
Studios,
Studios, Fishtank Recording Studio, FLM
Studios,
Studio, Massive Attack Studios, Production Frisson,
Rig A & Eleanor Rig B, Royaltone
Studios, Quad
Studios, Soundfirm, The
Strongroom, Trackdown
Studios, The Village Recorder and
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Additional Conducting by Chris Elliot
Choir Master: Jenny O’Grady for Metro
Voices
Music Preparations by Nick Mera for Dakota Music Services Ltd. and Matt Dunkley
Assistant
Engineers: John Bailey, Chris Barrett, Ricky Graham, Jake Jackson, Dave Morgan,
Neale Ricotti, Jepson Staral and Jason Wormer
Album
Mastered by Eddy Schreyer at Oasis Mastering
Supervising
Music Editor: Simon Leadley
Singing
Coach for Nicole Kidman and Ewan McGregor: Andrew Ross
BLAM:
Baz Luhrmann and Anton Monsted
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
SOUNDTRACK
ALBUM PRODUCER: Baz Luhrmann
MUSIC
SUPERVISORS + EXECUTIVE MUSIC PRODUCERS:
Anton Monsted
+ Laura Ziffren
MUSIC DIRECTOR: Marius DeVries
EXECUTIVE IN CHARGE OF MUSIC FOR
TWENTIETH CENTURY FOX: Robert Kraft
EXECUTIVE SOUNDTRACK ALBUM
PRODUCER FOR INTERSCOPE RECORDS: Karyn Rachtman
BUSINESS AFFAIRS FOR TWENTIETH
CENTURY FOX: Traci Dallas Opdahl and Lance Grode
MUSIC CLEARANCE FOR TWENTIETH
CENTURY FOX: Ellen Ginsburg
ADDITIONAL MUSIC CLEARANCE: Shelley Hogan
MUSIC PRODUCTION SUPERVISOR FOR
TWENTIETH CENTURY FOX: Michael Knobloch
MUSIC PRODUCTION COORDINATOR FOR
TWENTIETH CENTURY FOX: Rebecca Morellato
MUSIC PRODUCTION COORDINATOR FOR
BAZMARK FILM: Paul McKay
*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
This story is about truth, beauty, freedom, but above all, love…This story is about truth,
beauty, freedom, but above all, love…